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A fold of chairs

The collective noun for chairs is a fold of chairs. There is also such a thing as a fold of sheep. And a fold of cattle. An unkindness of ravens. A flight of stairs. There is a mob of wombats. A blush of boys. And some say a beautification of spatulas...

Hotel Hotel room chair shot by U-P.
Chair in Creative room number 209 shot by U-P.
Hotel Hotel room chair shot by U-P.
Monster Salon chair shot by U-P.
Monster Salon chair shot by U-P.
Monster Dining room chair shot by U-P.
Library chairs shot by U-P.
Monster Salon chair shot by U-P.
Monster Salon chairs shot by U-P.

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Things we are thinking about,
people we've met and what’s on in Canberra.

  • Stories
  • People
  • Daily Rituals
  • Fix and Make
  • What's On

The Story of the Salon and Dining rooms

Maurice’s Monsters

Bye Swarm Traps

Of love and other things

Suzi McKinnon and Jai Tongbor

Adam and Amy Coombes

Sam and Claire Johnson

The daily rituals of Matt and Lentil

New rituals for play

The daily rituals of others (part two)

The ritual of limbering up

Oyster dressing with guanciale with piquillo peppers, basil and chilli

How to make toys from trash

How to make camp furniture

CLIPPED Music Video Festival

WHEN Friday 30 September 2016
WHERE Arc Cinema, Canberra, ACT

Queer Screen Film Fest

WHEN Saturday 1 Ocotber 2016
WHERE The National Film and Sound Archive


WHEN Wednesday 2 November until Sunday 20 November. Opening launch Friday 4 November at 6PM
WHERE Nishi Gallery, 17 Kendall Lane, NewActon

Mutable Realities

WHEN Opens Thursday 13 October at 6PM. Until Sunday 30 Ocotber
WHERE Nishi Gallery, 17 Kendall Lane, NewActon

Object Therapy Talk at ANU

WHEN Thursday 27 October from 6PM
WHERE ANU, Sir Roland Wilson Building, Level 2 (ground floor) Theatre; 120 McCoy Circuit, Acton ACT 2601

Object Therapy Talk at UNSW

WHEN Thursday 20 October from 5.30PM
WHERE The Lecture Theatre, EGO2, E Block, UNSW Art & Design

The beginning of genius is being scared shitless. ― Louis-Ferdinand Céline

Daily Rituals, Stories, Visual Essay

Daily Rituals by Jessica Tremp

Jessica Tremp came to stay and she took some photos while she was here. We made a visual essay with them.

Jessica Tremp came to stay and she took some photos while she was here. We made a visual essay with them.

Daily Rituals

New rituals for play


The Story of the Salon and Dining rooms

The story of the design of the Monster’s Salon and Dining rooms may not be one that you’d expect.

It draws on a rich and important chapter of Australian immigration – a re-interpretation of the suburban family rooms of immigrants in Australia from the 1940s to 1980s, post WWII.

It is a layered story of domestic places.

It is at once a parlour for receiving guests, for talking art and politics, a living room for lolling around by the fire with friends, and a room for sharing meals.

The floor is a monolithic polished shattered terrazzo with hidalgoite green oxide seams. Terrazzo was first invented by construction workers in Venice – a low cost way to tile their living rooms with off cuts from work that they sealed with goat’s milk.

An original and unused early 1950s floral-pattern Axminister broadloom carpet from England has been remade as a rug that provides a setting for a collection of armchairs designed by Viennese furniture maker Paul Ernst Kafka who himself emigrated to Australia in 1939.

The rest of the seating is an assembly of Australian vintage boomerang lounges that sit alongside wireframe chairs and original decorative painted metal screens. They sidle up to Kafka side tables and Max Lamb designed nougat-like Marmoreal tables, and engineered marble fashioned by Molonglo Group and its collaborators into dining tables.

Perspex mirrors and plexi-bead columns and totems honour the often over-the-top indulgent adornment of many of the proud suburban lounges of the newly arrived at that time.

The spaces are illuminated with domestic table lamps alongside a massive 1970’s Barovier & Toso Murano chandelier suspended low over a wild veined green quartzite feasting table that comfortably seats up to ten diners.

Shards of 1960s Mazzega opaline glass have been re-appropriated to create a custom column light.

The in-the-round fireplace is the heart of the rooms – the centerpiece back-warmer to settle new arrivals in from chilly winter evenings. Views across Lake Burley Griffin to Parliament House and the surrounding mountains contextualise the space into its uniquely Australian landscape.

An eclectic mix of Greek icons, 1850s oil paintings and 1960s neon prints as well as objects collected in curiosity shops and flea markets gild the whole, telling precious folk stories, which if left untold would disappear.

This chapter is about how immigration increases the textures, layers and dimensions of a place’s cultural fabric.

It is an important story. Especially in a time when the number of people displaced by conflict is at its highest number ever since the aftermath of WWII.

It is a combination of old and borrowed ways that at once salutes the past and act as an offering in the hope for pluralism and diversity now and in the future.

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mauricemonster-01_Lee grant

Maurice’s Monsters

Maurice Golotta did the paintings on the outside of the Salon and Dining rooms at the Monster kitchen and bar… A crazy ass mix of the abstract, colours, and fittingly, monsters.

Read more

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When Lisa Sorgini Slept Over

Lisa Sorgini came and slept over the other week. She gave a new nice meaning to getting egg on your face. On her way back to Melbourne she stopped at Kosciuszko National Park and looked at the mountains.

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Bye Swarm Traps

‘Swarm Trap’ was an exhibition curated by MANY MANY and Honey Fingers. Together, we presented it at the Nishi Gallery, here in Canberra, back in June.

The exhibition was a collection of swarm traps (safe houses for bees) made by artists, designers and makers in their mutual admiration for the clever and generous animal that is the bee.

Today, now that Spring has finally arrived, these swarm traps are heading off to be installed in city, suburb and bush sites between here and Melbourne.

We’re waving them goodbye and blessing them all in the hope that they all prove to be a comfy safe house for bees looking for a new home.

'Hello Spooky' by Madeleine Mills. Shot by Charlie White.

'Bees in Trees' by Honey Fingers and carpenter René Mancuso. Shot by Charlie White.

'Suitcase' by Ben Blakebrough. Shot by Charlie White.

'60L Drum' by Field Experiments. Shot by Charlie White.

Rock from '60L Drum' by Field Experiments. Shot by Charlie White.

'Hexagonal Flower' by Beci Orpin. Shot by Charlie White.

'Negative (Bee) Space' by MANY MANY. Shot by Charlie White.

'Swarm Catcher' by PAM Studio and Honey Fingers (fourth work from the left). Shot by Charlie White.

'A Foreign Object From an Alien World, To Tempt the Curious Bee' by Nicholas Ashby. Shot by Charlie White.

'Artificial Branch' by Soft Baroque. Shot by Charlie White.

'Beezindatrap' by SIBLING. Shot by Janelle Low

'Big Roof' by Honey Fingers and carpenter John Arvanitis. Shot by Charlie White.

'Pat' by Charlie Lawler and Wona Bae of Loose Leaf. Shot by Charlie White.

‘Hello Spooky’ by Madeleine Mills.

Clay polymer, stoneware clay, organic matter, beeswax, propolis, tissue paper, plaster, wire.

1700mm x 400mm x 400mm

Born out of a child-like playfulness through which Madeleine Mills like to engage with material, this trap is a fusion of form and duty of care. Designed as a space that is safe, satiating and alluring for the bees, the attention to detail is at once acute and, in effect, unselfconscious. The layers of material have been built upon slowly and often spontaneously – its stoicism and autonomy revealing itself through the process. The trap stares back through the canopy of both uncanny and natural substances, ornamenting and embodying a sense of composite corporeality in our own human fabric.


‘Bees in Trees’ by Honey Fingers and carpenter René Mancuso.

Salvaged oregon, leftover paint, reusable ratchet straps.

1420mm x 360mm

Built to the 5000 year-old dimensions of the (still in-use) clay, cylindrical beehives of Egypt, ‘Bees in Trees’ is a nod to the traditions of beekeeping on the African continent, where empty cylindrical hives are suspended in trees to catch swarms and left in-situ, or moved to ground level, for the beekeeper to rob during the season. This hive will have an internal divider board (much like a Kenyan top bar hive) that will create an initial volume of 40L for a swarm to inhabit, but can be moved to create a larger volume for a growing colony to occupy. It will also have removable circular frames. This hive will be moved to ground level once bees have moved in. Interestingly, the volume of this hive – developed 5000 years ago – is equal to the volume of three eight-frame Langstroth boxes used today (a typical hive set-up in spring being two brood chambers + one honey super = three boxes).


‘Suitcase’ by Ben Blakebrough.

Leather suitcase (1930) with gold lettering.

660mm x 370mm x 140mm

For the on-the-move trapper. Ben Blakebrough’s mother used to have a swarm trap just like this one! Marcel Duchamp had one too, so did Albert Camus and Alan Ginsberg – he would read poetry to the swarm before attempting capture.

’60L Drum’ by Field Experiments.

Plastic, rope, rusted-steel pulley.

Field Experiments have made an ad hoc swarm trap from everyday found objects. The bung on a 60 litre plastic fermenter drum has been removed, providing the entry point for the bees. The drum hanging height is controlled by pulley system which can be adjusted to suit any environment. This trap is a reminder that we can work with items on hand to create new objects that fulfil a specific purpose.


‘Hexagonal Flower’ by Beci Orpin.

Plywood, glue, acrylic paint, varnish, metal.

430mm x 395mm x 300mm

Beci Orpin’s swarm trap is based on the naturally occurring shape of honeycomb – hexagon. She used lots of blue and yellow paint as these are the colours bees are most attracted to in nature. Beci hopes bees will think it’s a weird flower and fly right in. The swarm trap was designed and painted by Beci and constructed by James Reynolds.


‘Negative (Bee) Space’ by MANY MANY.


760mm x 380mm x 380mm

A common DIY swarm trap is made out of pressed fibre moulded by conjoined plastic buckets. MANY MANY sought to emphasise this traditional form by casting its negative space in plaster. The two halves – a plaster tower when closed – each have a different internal texture, creating a special interior ‘for the bees’ eyes only’.


‘Swarm Catcher’ by PAM Studio and Honey Fingers.

T-shirt, dowel, steel.

2600mm x 600mm x 400mm

A catcher rather than a trap, this device is popular in Europe for catching and relocating swarms that are within – or just out of – reach. The swarm can be closed inside the material funnel, and then gently shaken into a hive through the bottom of the funnel.


‘A Foreign Object From an Alien World, To Tempt the Curious Bee’ by Nicholas Ashby.

Aluminium, plastic, steel.

410mm x 330mm x 310mm

It’s not just that this perfectly refined design by the Swiss artist and designer Andreas Christen (1936-2006) is produced and finished to such beautiful exacting standards – the adoption of this classic by seemingly the entire Swiss population represents an acknowledgement that the question of how to receive mail is answered. Similarly, Nicholas Ashby believes our animal brothers and sisters are capable of a taste and appreciation for refined and utopian human-built technology. And that the question of artificially housing our bees should not be overthought with a muddle of archaic research from our own history.

Bees would be eager to move from the craft-driven nostalgic timber we usually build for them to a clean and reduced modern future. A system driven by rational standardisation and the total absence of individuality. An efficient and ever-expandable program for mass housing, leaving one free to create and dream beyond the immediate distraction of home and one’s heritage.

Humans and animals live together in the one kingdom – we need to share our riches.


‘Artificial Branch’ by Soft Baroque.


350mm x 300mm x 250mm

Bees naturally swarm to a hollow tree branch to create a new hive. This ceramic replica of a dead limb creates a reusable vessel that the bees will recognise instinctively as a new home.


‘Beezindatrap’ by SIBLING.

Hand-cast and dyed resin, mirror acrylic, plywood substrate.

350mm x 350mm x 350mm

Through their research, SIBLING became most interested in two things: that, in the wild, bees are most attracted to blue and purple followers; and that bees communicate to one another about their environment through dance. This led them to create a trap with a mirrored surface, with purple attractors. As the swarm trap hung outside the window of their fourth floor Melbourne CBD office, they watched as the box reflected both its environment and the bees themselves as they approached and danced across and around the surface.


‘Big Roof’ by Honey Fingers and carpenter John Arvanitis.

Salvaged timber floorboards, hardwood offcuts, reclaimed brass hinges.

1120mm x 340mm x 320mm

Constructed from the original bathroom floorboards salvaged from works on architect Robin Boyd’s ‘Lawrence House’ (1966-68) in Kew, Melbourne – and installed on that building’s garden wall for two years – ‘Big Roof’ is a play on taking the inside out and is a stab at creating a haughty, small-scale architectural monument, for bees. The trap itself is a box built to Prof. Thomas D. Seeley’s specifications with a big, hinged roof (the bees cannot access the roof’s void). It has caught one swarm that now lives in Carlton.


‘Pat’ by Charlie Lawler and Wona Bae of Loose Leaf.

Cork branches, steel wire, coconut husk.

500mm x 450mm

Charlie and Wona use natural materials to create both permanent and temporary artworks. Their swarm trap is inspired by the German ‘Sun Hive’ design. The suspended structure is created using tatami weaving techniques with cork branches. The hive is created in two sections and is designed to hang from a tree. The upper level contains a large chamber for the colony to gather in. At the base of the chamber is a round opening for bees to enter and exit. The lower level of the hive partially plugs the opening, giving the hive more protection, and provides a comfortable landing strip for the bees to enter the hive from any direction.

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Of love and other things

John Forrester Clack and his son Tobias Oliver Clack will be exhibiting ‘Marking the Spirit’ from Friday 19 August at 6PM at the Nishi Gallery until Sunday 11 September.

A few weeks ago, we went to visit John Forrester Clack at his home and studio in Gundaroo. We talked for a long time. Of his work, of love, and others things.

John’s work is self-exploratory. He draws, paints and sculpts, mainly self-portraits. Heads that draw on different emotions. In many ways it seems that John’s art is a way for him to reconcile himself within himself. “My pictures aren’t pretty pictures. They are about being deeply human as well as being deeply connected emotionally and spiritually”.

“What I’m doing as an artist is shedding skins. This is what I am today. You get it out and then you can leave that part on the floor.”

We talked in his studio, fitted with big windows for their generous natural light. John made the studio with his landlord whom he likes a lot. The door is pretty much always open to let the paint fumes out. The walls are covered in layers and layers of paint splatters, offcuts of wood lean up against the walls; tools and brushes hang from the ceiling.

“It’s grubby and oily and it stinks in here. But I feel free here.” John says.

He tells us the story of Francis Bacon and how he lived in a grotty bedsit studio in Reece Mews in London for years, painting away. And then he started selling his work for millions of pounds and so he took his bundle of cash and moved to a beautiful studio. But he found that he couldn’t paint in this nice new space… So he had to move back to the hovel.

The right space is important, John says. It helps you feel free to work things out.

“Part of making art is producing shit. You either have to change it, destroy it or start again. Sometimes it’s hard not to feel defeated.

You can work away for hours and not get anywhere, and then suddenly you experience this thing… This grace.

And then it works. I’m really grateful when it does. I think ‘that’s amazing, I can’t believe it’s there’.”

John grew up far away from his studio in Gundaroo, amongst the slag heaps of a mining valley in Wales. It sounds like it was a difficult place to grow up.

“For all the scars that childhood leaves us, it has given me a powerful engine, insight, a way to see things spiritually and emotionally.”

“My work is about embedded memory and emotion. And love. We share love. Love is really it. Art gave me a place to put it.”

It’s very fitting, given the nature of John’s work, this exploration of memory and love, that he will be exhibiting alongside his son Tobias.

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The one that never eventuated

Craig Tan shot by Lee Grant

Naomi Ota shot by Lee Grant

There was once the idea for a restaurant at NewActon that never eventuated. But the story is such a nice one that I’m still going to tell it.

What was nice about it? A) It was being designed by Craig Tan who is a really special architect. B) Craig had enlisted textile artist Naomi Ota to co-create the space.

Craig’s idea for the restaurant was to create a sequence of small spaces and experiences that have different qualities so that people can find the one that suits them best. He wanted to give each space richness and depth without being too prescriptive. What he was looking for was a materiality that would give a different acoustic, tactile or visual sense so as to give a different feel to each space.

This is where the idea of using ropes came in. They offer all these things as well as the possibility of playing with light and shadows and really giving each space its own sensibility. And enter Naomi Ota.

Naomi is an installation artist who uses fabrics and fibrous materials to make a range of works from small detailed pieces to large spatially interactive designs.

Unusually, for a textile artist, Naomi is interested in interaction and negative space. She is all about interdisciplinary collaboration working on performance projects with the likes of dancer Tony Yap and musicians Tim Humphrey and Madeline Flynn. She judges her recent works on their capacity to invite other elements such as movement and sound into them. It’s a pretty perfect conceptualisation for a restaurant. It is this thinking that landed her the would be gig. Her technical knowledge of fibre and knots and her beautiful, organic aesthetic also doesn’t hurt.

To really get the sentiment behind Naomi’s works, I think you need to know about the Japanese concepts of “hare” and “ke”. The hare experience (or hare day) is a special day for rituals where everyone is free to celebrate and join in – it’s the extraordinary. Ke is an everyday day, the mundane, where you haul yourself around and things don’t work out. Naomi’s works strive for the hare. She loves the moment in her performance installation work when “something happens” the elements and the audience interact and create a special moment that is different every time.

Amazingly, though they come from different disciplines, cultures and experiences, Naomi and Craig’s take on how to make a space a place for introspection and experience was very similar. Really, they were looking to turn ke into hare – striving to make the extraordinary within an ordinary setting.

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The Backroads to Canberra

Geography is just physics slowed down, with a couple of trees stuck in it.
— Terry Pratchett

Images by Axel Moline of 'Love Want'.

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150630 Cauliflower dish

Cauliflower with hazelnut, burnt butter, reggiano and truffle

Serves 6


  • Dehydrated cauliflower

    2 large cauliflower florets
    Vegetable oil for deep frying

    Cauliflower and truffle puree

    4 diced shallot
    2 sliced garlic cloves
    4 thyme sprigs
    2 bay leaves
    2 litres of milk
    10 grams black truffle
    Salt and pepper

    Parmesan custard

    150 grams Parmeggiano Reggiano
    250 ml water
    250 ml milk
    4 egg yolks

    Powdered burnt butter

    1 cup salted butter
    Tapioca Maltodextrin

    To finish and serve

    ½ cup roasted hazelnuts
    Fresh black truffle
    250 gram cauliflower florets
    Clarified butter
    Salt and pepper


Dehydrated cauliflower

Steam the cauliflower florets for 8 minutes then refresh in iced water. When completely chilled, slice the florets lengthways 1mm thick with a Japanese mandolin, lay the cauliflower slivers on dehydrator trays and dehydrate for 6 hours at 55°c.

If you don’t have a dehydrator – lay the cauliflower slivers on a tray lined with baking paper and place in the oven on it’s lowest setting until crisp. Heat the vegetable oil to 170°c and fry the dried cauliflower slivers a few at a time until puffed and golden. Season with sea salt and set aside.

Cauliflower and truffle puree

Sauté the garlic, shallot, bay leaf and thyme in the butter over medium to low heat until soft. Add the cauliflower and pour over enough milk to cover the cauliflower.

Season and reduce heat to low and simmer until cauliflower is soft, about 20 minutes. Drain the cauliflower and discard the thyme and bay leaves, blitz using a thermomix or a stick blender adding a little of the cooking liquid as you go to achieve a smooth consistency.

When you’ve reached the desired consistency, add the fresh truffle and continue to blitz until completely incorporated.

Check seasoning and set aside.

Parmesan custard

Combine the milk, parmesan and water in a thermomix and mix on speed 4 temperature 60 for 10 minutes. Blend for a few minutes on maximum speed until completely incorporated. Add the egg yolks and continue to blend on high speed and increase the temperature to 80°c. Continue to blend for 5 minutes. At this stage the parmesan custard will have appeared to split and curdled, never fear. Refrigerate the parmesan custard until completely chilled and then return to the thermomix and blend on high until the custard is velvety and smooth.

Place in a piping bag and set aside.

Burnt butter powder

Burn the butter by placing in a small saucepan over high heat until the butter starts to caramelise. Strain the burnt butter and set aside to cool. When completely cool, start incorporating the maltodextrin to absorb the oil. Keep adding maltodextrin, whisking constantly until the powder is light and fluffy.

To finish

Sauté the remaining 250 gram of cauliflower florets in clarified butter over medium to low heat, stirring occasionally. Season as you go and when the cauliflower is soft and caramelised. Place a spoonful of cauliflower puree in the centre of a bowl, scatter the caramelised cauliflower over the puree, arrange a few slices of fried cauliflower on top and a few roasted hazelnuts. Pipe a few large dollops of parmesan custard around the cauliflower pieces, sprinkle over the burnt butter snow and finish with a few chervil sprigs and the freshly shaved black truffle.

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This week

What's on in Canberra in September

Monthly Calendar

Art, Eat Drink, Film, Fix and Make, Live, Market, Music, Party, Talk, Walkabout, Workshop

The Best of What’s On in Canberra in September



CLIPPED Music Video Festival

If video killed the radio star, CLIPPED is out to dance on the grave. A jam packed night of music videos, premieres, industry speakers, VJS and live music are all part and parcel of the program.

WHENFriday 30 September 2016
WHEREArc Cinema, Canberra, ACT


WO like-crazy

Italian Film Festival

Crime dramas, comedies, biopics, leading Italian actresses and of course love stories. The Italian Film Festival is on.

WHENTuesday 20 September to Wednesday 12 October
WHEREPalace Electric Cinema



Nervous: Installation

A collaborative installation with Heather B Swann - 'Nervous'.

WHENThursday 18 August to Sunday 20 November
WHERENational Gallery of Australia, Gallery One


End of Nature Mike PArr

Mike Parr: Foreign Looking

This is the first exhibition to bring together works by Mike Parr in all media across his experimental practice from 1970 to the present.

WHENFriday 12 August to Sunday 6 November
WHERENational Gallery of Australia


Tough and Tender

Tough and Tender

Art by a group of American and Australian artists from the 1960s to now explore the complexities of personal relations and individual expression – their work is intimate and raw.

WHENFriday 15 July to Sunday 16 October
WHERENational Portrait Gallery


arbus twins

Diane Arbus – American portraits

The photographs of Diane Arbus (1923–1971) are powerful allegories of postwar America. Once seen they are rarely forgotten.

WHENUntil Sunday 30 October
WHERENational Gallery of Australia


WO Inca-Llama-1060

A History of the World in 100 Objects

Based on the acclaimed BBC radio series by former British Museum director Neil MacGregor - a history of the world and shared humanity told through objects from Africa, the Americas, Asia and Europe.

WHENFrom Friday 9 September until Sunday 29 January
WHERENational Museum of Australia
COST$20 adult / $15 concession / $8 child / $45 family

Art Walkabout


Within Without

A major Skyspace by American artist James Turrell. It's a beauty - a pyramid, a stupa, a viewing chamber, an offering to and from the sun gods.

WHENEvery day at sunset and sunrise
WHERENational Gallery of Australia


Sam Jinks


Technologically-precise sculpture depicts an artist. Speculative painting depicts a philosopher. Together, in this focus display, they explore physical and psychological manifestations of self-hood.

WHENFriday 19 August until Sunday 27 November
WHERENational Portrait Gallery of Australia


CMAG art Collection Canberra

Michael Taylor: A Survey 1963-2016

The first major survey of expressionist painter Michael Taylor’s works - paintings and drawings from six decades, sourced from major public and private collections throughout Australia.

WHENSaturday 9 July to Sunday 2 October
View All: What's On

Perfect Imperfect exhibition. Photographed by Sharyn Cairns.

Actually… It was perfect.

It’s funny that an exhibition celebrating imperfection was in fact rather perfect. Let’s blame the eyes of Karen McCartney, Sharyn Cairns and Glen Probstel for that.

We partnered with them to make the exhibition ‘Perfect Imperfect’ which ran from the 28th April to the 8th May in the Nishi Gallery. Conceptually, the exhibition was conceived to spring from the pages of a new book by the same name by the above mentioned trio. The physical experience of exhibition was like being lost inside the book’s pages – inside a world of mutability, of decay, of irregularity, of accident, of chance – in the most wondrous way.

Perfect Imperfect exhibition. Photographed by Sharyn Cairns.

There were more than 50 objects collected from 26 artists from all over the world. The elusive Alison Coates hung a central, folded, kelp-like work accompanied by sculptures of bone, wood and rock. Jacqui Fink showed several works from her series of extreme knitting experiments. The most impressive was the oversized wall hanging made from the fleece of a 700 strong flock of sheep. The wool was naturally coloured, cut into wide sheets, felted and arm stitched (yes arm stitched) to form a yarn, and then knitted one very large stitch at a time.

Perfect Imperfect exhibition. Photographed by Sharyn Cairns.

James Shaw and Marjan Van Aubel ‘Well Proven Chair’ celebrated the role of accident; its unusual texture the result of wood shavings from the factory floor combining with a bio resin overnight.

The gallery space was filled with a collection of wonky, crackly, broken, warped, uneven table objects from artists including Simon Hasan, Sofie Lachaert and Luc d’Hanis, Harriet Goodall, Nectar Efkarpidis, Alana Wilson and Julian Watts.

Perfect Imperfect exhibition. Photographed by Sharyn Cairns.

Perfect Imperfect exhibition. Photographed by Sharyn Cairns.

The show was stitched together by a collection of large format photographs by Sharyn Cairns of interiors, objects and old and new buildings expressing the perfect imperfect ideal.

So many curious people came along. After the opening, we got to know each other over dinner at Monster kitchen and bar. Like I said. Perfect.



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